GREAT MOMENTS and SCENES FROM THE GREATEST FILMS

An extensive collection of the most famous, distinguished, unforgettable or memorable images, scenes, sequences or performances, many from the greatest films of all time

Part 28



GREATEST MOMENTS AND SCENES - INDEX (alphabetical by film title)

Intro | Quiz | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 |
Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 |
Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26 | Part 27 | Part 28 | Part 29 | Part 30 |
Part 31 | Part 32 | Part 33 | Part 34 | Part 35 | Part 36 | Part 37 | Part 38 | Part 39 | Part 40 |
Part 41 | Part 42 | Part 43 | Part 44 | Part 45 | Part 46 | Part 47 | Part 48 | Part 49 | Part 50 |

M (continued)

The Most Dangerous Game (1932) (aka The Hounds of Zaroff)

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The scene of the flight of big-game hunter Bob Rainsford (Joel McCrea) and Eve Trowbridge (Fay Wray) into the misty jungle, as they are hunted and pursued by a vicious, bloodthirsty pack of Great Dane hounds sent after them by mad Russian Count Zaroff (Leslie Banks), in co-directors Irving Pichel Ernest B. Schoedsack's adventure chase-thriller

Moulin Rouge (2001)

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The scene of the star attraction of the Moulin Rouge Satine (Oscar-nominated Nicole Kidman) swinging above an audience of top-hatted gentlemen, and the scenes between the smitten lovers: tuberculosis-afflicted courtesan Satine and the penniless but lovelorn writer/poet Christian (Ewan McGregor) in an ultimately-doomed love affair -- singing the "Elephant Love Medley" (featuring over a half-dozen love songs) on a Parisian rooftop under a heavenly blue sky, and the scene of Satine's death from tuberculosis, in Baz Luhrmann's dazzlingly colorful and kinetic modern musical set in 1900 Paris - the first Best Picture-nominated musical since Beauty and the Beast (1991) and first non-animated musical since Cabaret (1972)




Mrs. Miniver (1942)

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The dramatic footage of the night-time Dunkirk evacuation, also the tense scene of middle-class Englishwoman Mrs. Kay Miniver's (Oscar-winning Greer Garson) encounter with a downed and escaped wounded German flier who holds her at gunpoint in her house and demands food and clothing before collapsing; and the scene of husband Clem Miniver's (Oscar-nominated Walter Pidgeon) return home after the evacuation and his reunion with his wife; and the scene of the couple in a bomb shelter reading Alice in Wonderland to her children during a terrifying Nazi air bombing - as they both shield the frightened and crying children, and the final scene that includes the powerful and moving, dynamic speech delivered by the town's vicar (Henry Wilcoxon) ("This is the people's war! It is our war! We are the fighters! Fight it then! Fight it with all that is in us, and may God defend the right!") and the singing of "Onward Christian Soldiers" in the bombed-out ruin of a church, in director William Wyler's Best Picture-winning war drama





Mulan (1998)

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The scene in which young Mulan (voice of Ming-Na Wen) decides to take her father Fa Zhou's (voice of Soon-Tek Oh) place in the war against the Mongols as his disguised "son" Ping in order to save her family's honor; the conversion of an incense burner into the 18 inch high, wise-cracking sidekick dragon Mushu (voice of Eddie Murphy, who would later voice the similar character of Donkey in Shrek (2001)) to join Mulan; the scene in which Mulan cunningly causes an avalanche with a rocket to wipe out the Mongol army, and the scene in which thousands of people in Shanghai bow in thanks for saving the Emperor of China (voice of Pat Morita), in Disney's animated adaptation of the Chinese folk fable of Mulan


Mulholland Dr. (2001)

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The twisting and turning dual characterizations of the two female protagonists: dark-haired brunette, full-bodied amnesiac and femme fatale Rita/Camilla Rhodes (Laura Elena Harring) and wholesome, pert blonde ingenue Betty Elms/Diane Selwyn (Naomi Watts) in the film's first half - it was basically Diane's romanticized dream sequence (later learned) in which she imagined herself as successful blonde ingenue and wannabe LA actress-newcomer Betty - ending when a blue box found in Betty's purse was opened with a blue key that a now-blonde Rita found in her purse (after Betty disappeared) -- a clue that the two identities of Betty and Rita were somehow integrally inter-connected; also the creepy but masterfully-acted audition scene in which naive wannabe starlet Betty performs a sexually-tainted script with a tanned and aging lothario Jimmy 'Woody' Katz (Chad Everett) - when she whispers into his ear and bites his lip ("I hate you. I hate us both"); the two memorable, hesitant and exploratory lesbian love scenes between Betty and Rita, and the scene of Betty remaking Rita to look more like her as a blonde in order to be transformed into her ideal; the very strange scene in the nightclub called Club Silencio in which Rebekah Del Rio (as Herself) sang a Spanish version of Roy Orbison's "Crying"; and the mysterious blue 'Pandora's' box with a blue key that signified the break between the first part's dream and the second part's reality (including Diane's suicidal death), in Best Director-nominated David Lynch's surreal, mystifying, mind-twisting, dream-like modern noir about Hollywood fame





The Mummy (1932)

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The awakening and coming to life of the Mummy - Egyptian high priest Im-ho-tep (Boris Karloff in his second horror starring role), in director Karl Freund's classic horror film

The Muppet Movie (1979)

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The film's deliberately cheesy puns and jokes (i.e. the literal fork in the road) and the astonishing puppetry featuring such tricks as Kermit the Frog (voice of Jim Henson) riding a bicycle without any visible means of support; the enchanting opening (a film-within-a-film) that tells of the origins of Kermit in the swamp and the image of Kermit strumming a banjo and singing the Oscar-nominated "The Rainbow Connection"; all the friendships formed between Kermit and the other bizarre Muppet cast of characters met along the way including the unfunny, clownish Fozzie the Bear (voice of Frank Oz), the silly, chicken-loving Great Gonzo (voice of Dave Goelz), the vain, preening and explosively violent Miss Piggy (also Oz) who carries a romantic torch for Kermit, and pianist Rowlf the Dog (also Henson) who sings a duet with Kermit: "I Hope That Something Better Comes Along"; with over a dozen celebrity cameos from Hollywood's Golden Age through to hip comedians and actors of the time, including ventriloquist Edgar Bergen (who died shortly after his scene was filmed and to whom the film was dedicated) and his dummy Charlie McCarthy, the brilliantly funny Steve Martin as a sarcastic waiter, the insane German-accented Professor Max Krassman (Mel Brooks), Gonzo's sweetly sung "I'm Going to Go Back There Someday" while the gang is stranded in the desert at night; the magical conversation Kermit has literally with himself: ("Well, then...I guess I was wrong when I said I never promised anyone. I promised me..."), the deus ex machina ending when Animal grows to giant size after swallowing InstaGrow pills and scares off the villainous Doc Hopper (Charles Durning); Orson Welles' cameo appearance as Lew Lord, who tells his secretary (Cloris Leachman): "Miss Tracy, prepare the standard 'rich-and-famous' contract for Kermit the Frog and company"; the climax when a rainbow bursts through the studio set ceiling, and the entire Muppet cast sings a reprise of "The Rainbow Connection" ("Life's like a movie, write your own ending, keep believing, keep pretending, we did what we set out to do...") - interrupted when Sweetums (voice of Richard Hunt) bursts through the film into the theater where the rest of the Muppet cast is screening the film ("I just KNEW I'd catch up to you guys!"); also the end credits antics of the Muppets, concluding with Animal telling the audience: "Go home! Go home! Bye-bye!", in director James Frawley's great children's film









Murder, My Sweet (1944), (aka Farewell, My Lovely)

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The opening shot of a blinding ceiling light and sounds of accusatory voices, and then a pull-back camera to the side of detective Philip Marlowe (Dick Powell), with bandaged eyes as he is interrogated by police and then begins to relate his story - in flashback; the brooding appearance of a figure in Marlowe's office windowpane (flashing city lights reflect onto the face of brutish Moose Malloy (Mike Mazurki) standing behind him in the darkness); the two amusing instances when Marlowe strikes his match on a marble Cupid's back-end, and when he plays hopskotch (recalling Powell's days as a dancer) on the black/white checkered-tiled floor of millionaire Mr. Grayle's (Miles Mander) mansion; the memorable narrated dialogue ("I caught the blackjack behind my ear. A black pool opened up at my feet. It had no bottom"); and the nightmare ("a crazy, coked-up dream") he experiences when pursued through a series of identical doors by a doctor with a giant hypodermic needle - and further scenes of his drug-induced hallucinations; also the final shoot-out in the Grayles' beachhouse, where mysterious, flirtatious, gold-digging double-identity, femme fatale vamp Mrs. Helen Grayle/Velma Valento (Claire Trevor), who had set up numerous individuals over the theft of jade jewelry, is killed by her husband (who in turn kills and is killed by Moose - who had already murdered underworld kingpin Jules Amthor (Otto Kruger)), in director Edward Dmytryk's film noir detective classic




Murmur of the Heart (1971, Fr/It/W.Ger.) (aka Le Souffle Au Coeur)

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The sensitively-rendered scene of incestuous love between 14 year old Laurent Chevalier (Benoit Ferreux) and his mother Clara (Lea Massari), in director Louis Malle's controversial examination of desire and love

The Music Box (1932)

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The scenes of Stan (Stan Laurel) and Ollie (Oliver Hardy) laboriously moving an uncooperative crated upright piano up a steep set of stairs to a house; it continually wanted to find its way to the bottom of the steps, although they were eventually able to hoist it up using a block and tackle into the second story window; they encountered an angry customer (The Professor played by Billy Gilbert), an irate cop (Sam Lufkin), a curious postman (Charlie Hall) and a sassy Nursemaid (Lilyan Irene) with a baby carriage who asked to pass - when the two obliged and moved aside, the piano bounced back down the steps; when she chuckled, Stan kicked her backside, and she retaliated with a punch to the face - then, when Ollie laughed, she smashed a large baby bottle on his head, in this short, 29-minute Oscar-winning Best Short film from director James Parrott

Mutiny On the Bounty (1935)

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The character of tyrannical Captain Bligh (Charles Laughton) ordering floggings, keelhaulings and other cruel disciplines, and his oft-repeated call: "Mr. Christian!"; Fletcher Christian's (Clark Gable) love scene with native girl Maimiti in the jungle; the famous confrontational mutiny scene when Christian decides to rebel - and Captain Bligh is forced into a small boat with limited supplies where he threatens: ("I'll live to see you - all of ya - hanging from the highest yardarm in the British fleet"); and Roger Byam's (Franchot Tone) stirring speech at his court-martial trial in England in the conclusion ("These men don't ask for comfort. They don't ask for safety...They ask only (for) the freedom that England expects for every man. If one man among you believed that - one man! - he could command the fleets of England. He could sweep the seas for England if he called his men to their duty, not by flaying their backs but by lifting their hearts - their..., that's all"), in Frank Lloyd's Best Picture-winning historical seafaring drama based on the novel by Nordhoff and Hall





My Darling Clementine (1946)

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The early scene of Wyatt Earp's haircut (Henry Fonda) interrupted by a shooting outdoors by drunken Indian Charlie, Wyatt's visit to brother James' grave after he was killed by the Clantons; Wyatt balancing himself on the two hind legs of his chair on the porch in Tombstone; the scene of a half-drunk Shakespearean actor (Alan Mowbray) humiliated and forced to deliver the famous Hamlet soliloquy atop a saloon table, the town's open-air dance social with Earp majestically escorting schoolteacher Clementine (Cathy Downs) there to dance, the historic OK Corral shootout climax against the Clantons led by Old Man Clanton (Walter Brennan) when Doc Holliday's (Victor Mature) affliction weakens him and makes him vulnerable, and at film's end -- Earp's goodbye to Clementine ("Ma'am, I sure like that name - Clementine") before riding off away from the camera toward the rock monuments in the distance in the last image, in John Ford's western classic




My Fair Lady (1964)

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Arrogant linguistic professor Henry Higgins (Oscar-winning Rex Harrison) with tremendous style and wit as he both talks-sings his lines, and Eliza Doolittle's (Audrey Hepburn) poignant transformation from a waif to a well-dressed and refined lady with proper diction; Eliza's initial reaction to Higgins' proposition: "I'm a good girl, I am!", and her reconsideration of his offer by singing: "Wouldn't It Be Loverly?"; Eliza's vengeful fantasy song "Just You Wait", and the joyous celebration when she finally makes a real breakthrough, singing "The Rain In Spain/I Think She's Got It"; the Ascot races scene when Eliza's dignified English lapses into colorful street language ("Done her in") - and it is humorously interpreted as the "new small talk," and her yell at a faltering horse: "Move yer bloomin' arse!"; also her descent down the staircase in a beautiful gown; Eliza's successful attendance at the ball when socialite Freddy Eynsford-Hill's (Jeremy Brett) becomes infatuated with Eliza, singing "On the Street Where You Live" (and Eliza's later, frustrated sung response "Show Me" ("...Tell me no dreams filled with desire. If you're on fire, show me!..."); Eliza's tell-off of Higgins, singing "Without You" ("There'll be spring every year without you. England still will be here without you"), Higgins' spiteful rejection of Eliza while walking home, and his slow realization song/speech: "I've grown accostomed to her face...She almost makes the day begin...", and the film's contrary, misogynistic closing line by Higgins: "Where the devil are my slippers?", in George Cukor's Best Picture-winning screen musical (from the Lerner & Loewe Broadway play of George Bernard Shaw's Pygmalion)




My Left Foot (1989)

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The character of disabled working-class Dubliner Christy Brown (Oscar-winning Daniel Day-Lewis) - a gifted painter and writer in spite of his affliction with cerebral palsy; the opening scene just before adult Christy is to receive an award at a benefit and his request of a reluctant nurse to provide him with a light for his cigarette - and his tirade: "I didn't ask for a f--king psychological lecture. I only asked for a f--king light"; the moving scene in his childhood when young Christy (Hugh O'Conor) painfully scratches the word MOTHER on the parlor floor with a piece of chalk wedged between his toes, and the scene in which he struggles to get down the stairs to save his unconscious mother (Brenda Fricker), and the scenes of his participation in soccer and other games with his peers - often carted around in a wooden wheelbarrow; and the devastating heartbreaking scene in a restaurant when a drunken, angry and hurt Christy reacts (with a blurted out "Con-grat-u-lations") to news that his love interest - his speech therapy teacher Dr. Eileen Cole (Fiona Shaw) - has become engaged to someone else; and Christy's tortured suicidal attempt with a razor held between his toes, in Jim Sheridan's biopic based on Brown's autobiography

My Little Chickadee (1940)

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The few classic scenes between Flower Belle Lee (Mae West) and con-man/husband of convenience Cuthbert J. Twillie (W. C. Fields) in their only film together, and his best lines: (1) when told that there is nothing good about Flower Belle by prudish Mrs. Gideon (Margaret Hamilton), he responds: "I can see what's good. Tell me the rest" (2) holding and kissing her hand on the train, he exclaims: "What symmetrical digits!" (3) and Twillie's proposal of marriage: "Will you take me?" and Flower Belle's reply as she rolls her eyes: "I'll take you, and how" - and the scene of their phony sham marriage aboard the train; also Flower Belle's assurance that she will be a good schoolmarm teaching math: "I was always good at figures"; also her famous line to two suitors: "Any time you got nothin' to do and lots of time to do it, come up"; and Twillie's last line to Flower Belle as he leaves town to attend to his "hair" oil wells: "...you must come up and see me sometime" and the camera's last image -- Flower Belle sashaying her bottom as she ascends the stairs, in Edward Cline's western comedy




My Man Godfrey (1936)

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The famous scene of Carlo (Mischa Auer) imitating a monkey, and the bathroom scene in which "forgotten man" Godfrey Parke (William Powell) tosses spoiled, swooning socialite Irene Bullock (Carole Lombard) under the shower fully clothed, in director Gregory La Cava's landmark sophisticated screwball comedy

Mystic River (2003)

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The scene of disturbed, violated, and haunted Dave Boyle (Oscar-winning Best Supporting Actor Tim Robbins) with his young son Michael (Cayden Boyd) remembering an incident 25 years earlier when he was a young boy (Cameron Bowen) and ordered to "Get in" a car -- during an abduction by two pedophiles (who assaulted him over a 4-day period in a cellar after driving him away in the back seat of a black Ford sedan); also the scene of grieving ex-con and corner patriarchal grocery-store owner Jimmy Markum (Oscar-winning Best Actor Sean Penn) learning of the discovery of a body in the local park - belonging to his 19 year-old daughter Katie (Emmy Rossum) and screaming out to Massachusetts State homicide detective Sean Devine (Kevin Bacon) as he was restrained: "Sean, is that my daughter in there?!"; also the powerfully-acted scene of Jimmy on the back porch with Dave struggling to grieve and let go with his wrenching tears over the hurtful loss of Katie (Jimmy: "There's one thing you could say about Katie even when she was little. That girl was neat...I loved her..most....And it's really starting to piss me off, Dave, because I can't cry for her. My own little daughter, and I can't even cry for her." Dave: "Jimmy. You're crying now." Jimmy: "Yeah, damn. I just want to hug her one more time. She was 19 f--king years old"); also the scene of an emotionally-scarred Dave with his untrusting, panicked wife Celeste (Marcia Gay Harden) when he recalled his childhood's 4-day abuse and felt like an undead vampire ("Maybe one day you wake up and you forget what it's like to be human...Dave's dead. I don't know who came out of that cellar, but it sure as shit wasn't Dave...It's like vampires. Once it's in you, it stays..."); and shortly afterwards, the scene of a tormented Celeste telling Jimmy that she suspected her husband as the killer (although Dave claimed he beat up a pedophile behind McGill's bar the same night that Katie died); also the scene of Jimmy forcing Dave to falsely admit that he killed Katie by repeatedly demanding: "Admit what you did, Dave, and I'll let you live" - before stabbing him and finishing him off with a gunshot to the head and throwing his body in the Mystic River; and the next scene, the following day when Sean told Jimmy that they had found the real killers in the case, with Jimmy's reaction: "If only you had been a little faster" and Sean's observation: "Sometimes I think, I think all three of us got in that car...The reality is we're still 11 year old boys locked in a cellar imagining what our lives would have been if we'd escaped" - with the ending superimposed shot of the concrete sidewalk with the three boys' names permanently carved into it and views of the Mystic River and the Tobin Bridge, in Clint Eastwood's intense adult crime drama








N

The Naked City (1948)

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The opening scene with aerial views of New York City - accompanied by narration from the film's producer, journalist Mark Hellinger (who conducted six months of interviews with the NYPD to gather accurate details and characterizations); the manhunt for the brutal murderer of attractive, and promiscuous 26 year-old blonde fashion model Jean Dexter by veteran cop Det. Lt. Dan Muldoon (Barry Fitzgerald) and partner Det. Jimmy Halloran (Don Taylor); the emotional sequence at the City Morgue when Jean's parents - the Batorys (Adelaide Klein and Grover Burgess) identify her body; and the film's memorable, thrilling, and heart-pounding climax in which wounded murder suspect Willie Garzah (aka Willie the Harmonica) (Ted de Corsia) runs through the Lower East Side tenements until being cornered on the Williamsburg Bridge where he climbs to the top of the bridge tower - and falls to his death, in director Jules Dassin's hard-boiled urban docu-drama crime/noir film - this was the first studio feature shot on location in New York City - and the film that inspired the 50's ABC-TV series - with its famed ending quote delivered by Hellinger as an epitaph for the murdered woman: "There Are EIGHT MILLION Stories In The Naked City - This Has Been ONE Of Them"



The Naked Gun: From the Files of Police Squad! (1988)

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The many insanely silly scenes and dead-panned jokes, including the opening of a speeding LA cop car (shot behind the revolving cherry-top) down nighttime streets, into a carwash, and then barreling into a house - and a shower with naked women - and then down a rollercoaster before coming to a stop in front of a donut shop; the scene of hapless crimefighter and lawman Lt. Frank Drebin's (Leslie Nielsen) visit to hospitalized and badly-wounded Det. Nordberg (O. J. Simpson) in his bed - and causing his bed to fold up on him, and making insensitive comments to his wife Wilma (Susan Beaublan) ("I wouldn't wait until the last minute to fill out those organ donor cards"); Drebin's famous line of dialogue and double-entendre statement when Jane Spencer (Priscilla Presley) climbs a ladder: "Nice beaver!" to which a stuffed beaver is produced ("Thank you, I just had it stuffed") and the scene of having safe sex with her with complete body condoms; the look-alike Queen Elizabeth II character - whom an embarrassed Drebin ends up falling on; and the scenes at the ballgame with Drebin's awkward singing of the national anthem while impersonating opera singer Enrico Pallazzo, and the final scene at the top of the baseball stadium when Drebin slaps the back of recuperating, wheel-chaired partner Nordberg, sending him down the stadium steps and flipping him 360 degrees to the field below, in co-directors Zucker, Abrahams, and Proft's gag-filled comedy







The Naked Kiss (1964)

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The violent opening scene of bald-headed call-girl Kelly (Constance Towers) beating her pimp with her handbag and spiked high-heeled shoes, taking $75 cash that belongs to her, adjusting her wig and makeup, and starting a new life in the suburban community of Grantville where she works as a pediatric nurse at an orphanage for handicapped children - with the outrageous musical number that Kelly sings to disabled kids on crutches; and then later the reformed prostitute's learning of the perverted hypocrisy of her bachelor fiancee J. L. Grant (Michael Dante) - the most respected and wealthy citizen of the community who is actually a 'child molester' - leading to his accidental killing by being bashed with a phone receiver, in writer/director Sam Fuller's unorthodox, bold and raw, feminist B-film and sordid melodrama - a treatise about the abuse and exploitation of women by perverse men and women




The Naked Prey (1966)

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The excruciating scene of the torture and execution of members of an ivory hunting expedition by African tribesmen, and the amazing race-for-his-life chase scene by the naked and unarmed safari tour leader/guide (Cornel Wilde) as six tribe warriors give him a head start of 100 yards into the bush, in this adventure/chase film co-directed by Cornel Wilde and Sven Persson  

The Naked Spur (1953)

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The portrayal by James Stewart of vengeful, tormented and embittered bounty hunter Howard Kemp in pursuit of murderer Ben Vandergroat (Robert Ryan) for the $5,000 reward money in the Colorado Rockies, and the conclusion in the midst of some roaring mountain rapids when the captured and ruthless outlaw is killed and a maniacal, savage Kemp vows his greater interest in the money to Lina Patch (Janet Leigh) as he reels in the dead body: "I'm takin' him back. It's what I came after and now I've got...He's gonna pay for my land... (the money) That's all I care about. That's all I've ever cared about", in Anthony Mann's beautifully-filmed, stylistic, and moralistic 'adult' western


Napoleon (1927) - The 3-part (triptych) wide screen in the conclusion of this landmark epic silent film, by director Abel Gance
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The Narrow Margin (1952)

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The claustrophobic, tense atmosphere aboard the moving, confining transcontinental Golden West Limited train (from Chicago to L.A.) with the plotline of the escort of widowed gun moll and grand jury witness Mrs. Frankie Neall (Marie Windsor) by incorruptible Detective Sgt. Walter Brown (Charles McGraw), and the surprise character twists and secret identities, the vicious fight scene in a cramped men's room, and the climactic scene in which Brown's love interest - a golden-haired mother named Ann Sinclair (Jacqueline White) [the real Mrs. Frankie Neill] (with her son Tommy (Gordon Gebert)) was mistakenly (?) being held hostage by a mob hitman, and Brown used the reflection of another train's window to gun down the hitman without compromising her safety, in director Richard Fleischer's noirish crime-drama, followed by director Peter Hyams' inferior remake Narrow Margin (1990) starring Gene Hackman and Anne Archer

Nashville (1975)

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The miraculous interweaving and crisscrossing of the lives and destinies of 24 different characters in a free-flowing tapestry or kaleidoscope - especially in the opening sequences; the scene of folk singer Tom (Keith Carradine) seductively singing "I'm Easy" to a crowd - with the camera slowly showing the face of aroused audience member and married gospel singer Linnea (Lily Tomlin) in the back, the humiliating bump-and-grind strip scene in which a humiliated and desperate wannabe Sueleen (Gwen Welles) pulls socks-padding out of her bra, the scene of star singer Barbara Jean's (Oscar-nominated Ronee Blakley) breakdown; the unseen presidential candidate; and the concluding tragic and shocking sequence at a country music festival/political rally at the Parthenon in which Barbara Jean has just finished performing "My Idaho Home" and then is assassinated - and quickly replaced with unknown performer Albuquerque (Barbara Harris) who calms the crowd with "It Don't Worry Me", in director Robert Altman's country-western character study




GREATEST MOMENTS AND SCENES - INDEX
(alphabetical by film title)

Intro | Quiz | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 |
Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 |
Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26 | Part 27 | Part 28 | Part 29 | Part 30 |
Part 31 | Part 32 | Part 33 | Part 34 | Part 35 | Part 36 | Part 37 | Part 38 | Part 39 | Part 40 |
Part 41 | Part 42 | Part 43 | Part 44 | Part 45 | Part 46 | Part 47 | Part 48 | Part 49 | Part 50 |


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Created in 1996-2008 © by Tim Dirks. All rights reserved.